Nikon has announced the ZR, a video-focused camera with Red co-branding. It features the same 24.5MP 'partially Stacked' sensor as the Z6III and inherits many capabilities from the more stills-oriented camera, but gains a new Raw video codec, video-focused UI and internal 32-bit float audio recording – a first in the industry.

• 24.5MP full-frame 'partially Stacked' CMOS sensor
• Nikon Z-mount
• 7.5EV IBIS
• Up to 6K 60p
• R3D (NE) Raw video codec
• 4" 1000 nit display
• CFexpress Type B / microSD
• Autofocus subject detection for people, animals, vehicles and planes
• Internal 32-bit float
• No mechanical shutter

The ZR will retail for $2199 – $500 cheaper than the Z6III – and will be available starting October 20th.

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• What's new
• How it compares
• Body and handling
• Video capabilities
• Initial Impressions
• Specifications
• Press Release

While the ZR's heart may be the same as the Z6III, it's not immediately obvious by looking at it. The camera has a boxy, EVF-less design with a minimal grip, making it easy to mount on a gimbal without having to worry about clearance.

On the back is a massive 4" 3.07M dot display. It's in a video-friendly 16:10 aspect ratio, with a 1280 x 800 pixel resolution. It has a peak brightness of 1000 nits. Nikon says it supports the P3 color gamut, giving you a more accurate preview of what your colors will look like, when working beyond the limits of sRGB.

On the back of the display are the Nikon and Red logos. The ZR is the first camera since Nikon's acquisition of Red to come with both companies' branding (unless you count the Z-mount Raptor's body cap).

The ZR includes a new Raw video codec called R3D (NE), alongside Nikon's N-Raw format and ProRes Raw. While it's not exactly the same as the Redcode Raw that Red's cinema cameras shoot, it is made to be cut together with it and uses the same Log curve and color gamut.

Importantly, this means you can use the Look Up Tables, or LUTs, that already exist for Red cameras, making it much easier to cut footage from the ZR and Red's cinema cameras together.

When shooting in R3D (NE), the ZR can capture 6K and DCI 4K at up to 60p, and UHD 4K at up to 120p. These same options are available for N-Raw.

Nikon says that, to start, you'll have to process R3D (NE) footage in a piece of software called Red Cine X Pro to adjust its lightness (labeled as ISO) and color, before "developing" it into an exported file that your editing software can understand. However, we were told there are plans to build native support for it into various editors.

R3D Raw also comes with a different approach to gain. Instead of applying it in-camera based on your ISO setting, the camera will lock it to either its low (ISO 800) or high (ISO 6400) gain step. If you adjust your ISO, the camera will note it as a metadata tag and adjust its metering to capture a different balance of highlights and shadows, but it won't change the amount of gain added to the footage. This approach is comparable to the Cine EI (exposure index) mode Sony includes on its video-focused cameras, and gives you more control over your video's lightness ("ISO") in post. By contrast, N-Raw is shot with variable gain, just like photo mode, so you can't adjust this after the fact.

Alongside R3D (NE), the ZR supports the two other Raw formats the Z6III could shoot: Nikon's own N-Raw codec, as well as Apple's ProRes Raw. Though, as has been the case in Nikon's previous cameras, the widely-supposed ProRes Raw option isn't available at the camera's fastest resolutions and frame rates.

The ZR is the first mirrorless camera to include fully-internal 32-bit float recording for audio. If you're unfamiliar, 32-bit float encodes audio in an entirely different fashion than traditional 16 or 24-bit encoding, allowing it to record a much wider range of values than would be possible. Typically it's combined with dual gain mics to ensure both quiet and loud sounds can be captured.

The benefit is that you don't need to finely adjust gain and worry about clipping (other than the point at which your mic itself it overwhelmed). While we've seen other cameras, such as the Panasonic GH7, that support 32-bit float recording with an external XLR adapter, the ZR can do it without one.

What's more, it can be used to record audio from the camera's internal microphone – an OZO model from Nokia that can pick up audio from multiple directions – as well as from the 3.5mm microphone jack, meaning you can use it all the time.

While the ZR has a traditional 3.5mm microphone input, it also includes a digital hotshoe with support for audio. Nikon says it's building a compact microphone that will use it, as well as an XLR adapter.

Currently, it's unclear if third party companies will be able to create accessories for it. For example, some DJI wireless microphone receiver packs can plug directly into the digital hotshots on Sony's cameras, making it so you don't have to connect them with a 3.5mm cable. Whether they'll make something comparable for Nikon's system remains to be seen.

You only need to look at the ZR to recognize that it's a competitor to Sony's FX range of cameras for film makers. Its lack of viewfinder will draw immediate comparison with the FX3 and APS-C/Super35 FX30 models, but the price is more in line with the FX2. However, the Nikon has a sensor much better suited to video than the FX2, which uses the rather slow to read-out chip from the a7 IV.

Despite the apparent similarities (high res 60p Raw capture), it's not quite a like-for-like competitor to Canon's C50, launched earlier today. This is an unstabilized, actively-cooled camera, rather than a hand-held model. The provision of capabilities such as a timecode socket, desqueeze preview modes for working with anamorphic lenses and the option of bolt-on mount adapters suggests a focus on industry use, rather than beginners and owner-operator outfits.

7K/60
7K/30 open-gate

The Nikon ZR looks essentially like one of Sony's small FX models but without their active cooling. And, in the same way that the FX2 and FX3 share much of their hardware with the more photo-focused a7 IV and a7S III bodies, respectively, the ZR is essentially a video-ized Z6III. So, while you lose the viewfinder, photo-friendly body shape and mechanical shutter, you gain more Raw video options, a hotshoe with digital inputs and 32-bit float audio. Despite this, Nikon has brought the ZR in at a price significantly below that of the Z6III.

But, more significant is that it undercuts the price of the FX2, which isn't built around an especially video-adept sensor, and at nearly half the $4100 asking price of the FX3, which has comparable rolling shutter, but captures native 4K, rather than the Nikon's 6K. In most regards, the ZR looks like a bargain.

The ZR is a relatively compact body, immediately bringing to mind the original Sony FX3, but without the prevalence of 1/4-20 mounting points, and without the finned exhaust ports, as the ZR does not feature active cooling.

It's just as much a Z6III shorn of its viewfinder as anything else, and has a similarly solid-feeling build. It uses the same fibre-reinforced plastic that Nikon has been using for some years, which gives a good sense of solidity without adding excessive weight. This is likely to be a benefit if you choose to mount it on a gimbal.

The ZR has most of the ports you'd expect from a video camera: USB-C, running at 3.2 speeds and 3.5mm headphone and microphone jacks. The one surprise is the presence of micro, rather than full-size, HDMI. It does make sense given the camera's smaller form-factor, but those planning to routinely plug in monitors or external recorders to this camera will likely wish for a more robust connector.

Its storage mediums are also unconventional. While its CFexpress Type B slot is exactly what you'd expect on a high-end video camera, the secondary UHS-I microSD card slot isn't. It's not fast enough to support most of the formats that the camera can so you can't use it to backup your recordings, nor can it be used to record proxies (though if you're shooting in R3D (NE) or N-Raw, proxy files will be recorded to the main card). Most people, then, will likely just use it for transferring settings and LUTs, or perhaps for shooting stills.

The Nikon ZR uses the same EN-EL15c battery as the Z6III. It's a 16Wh battery which powers the Z6III to a respectable 390 shots per charge when shooting photos and 100mins of "actual" video shooting, according to CIPA's standardized tests.

Nikon hasn't provided the rated values for the ZR, but we assume they'll be pretty comparable: good, but not exceptionally so.

As you might expect, Nikon is putting most emphasis on the ZR's Raw capabilities, but for many people, good 10-bit Log footage offers a less data-intensive workflow with plenty of editing flexibility (there's a much smaller difference in editing flexibility between 10-bit Log and 12-bit linear Raw than between JPEGs and Raw stills).

The ZR offers plenty of gamma-encoded video options, in a choice of All-I ProRes 422, 10- or 8-bit 4:2:0 H.265 or 8-bit, 4:2:0 H.264 MP4s.

As is often the case, the most data-intensive options aren't available in ProRes. And, like the Z6III, the ZR needs to crop in to an APS-C / Super35 region to shoot 4K/120 or 100.

Even if they're not necessarily the easiest options to capture or work with, the ZR's Raw video modes are likely to be the most eye-catching.

The camera can capture either the Red-derived R3D NE Raw or the existing Nikon N-Raw at up to 6K/60. It has to drop to 30p to utilize the more widely-supported ProRes RAW codec.

It's worth noting the different ways the R3D and N-Raw modes handle ISO. And, while we know the N-Raw format is able to record the metadata to apply lens corrections for those Nikkor lenses that require it, we were unable to test whether the same is true for R3D, potentially adding another complication to your workflow. We hope to test this when production-spec cameras and the processing software are available.

The ZR is the first Nikon camera to let you set exposure in terms of shutter angle, out-of-the-box (it's was added to the Z8 and Z6III in firmware, post-launch). This is especially valuable on a camera that can shoot 60 and 50 fps footage as readily as it can 30, 25 or 24p, as it means you can switch frame rates and have the exposure time respond accordingly, avoiding the risk of forgetting, and shooting footage with too high or low a shutter speed, after you switch.

by Richard Butler

The Nikon ZR says Red very prominently on its rear display, but it feels like this was a branding decision made relatively late in its development: the menus, layout and handling of the the camera are pure Nikon in every other respect.

However, while it doesn't feel like it has input from Red running all the way through it, the addition of more Red-like Raw, along with an 'EI' approach to gain, leaving open the option to adjust "ISO" as part of the processing workflow, still represent recognizable input from Nikon's recently-purchased cinema division.

No matter how many fancy Raw options it has, the lack of active cooling is likely to count against the ZR when it comes to its uptake as a principal camera by production houses. But the aggressive price and highly capable sensor bring the possibility of putting more advanced film-making tools in the hands of beginner and student film makers than ever before. Which raises the faint possibility of the ZR playing a similar role to that once performed by Canon's EOS 5D II, in terms of bringing film making to a wider audience.

Whether it ends up being the ZR or one of its competitors that ends up fulfilling this role, it's striking to see how far things have progressed in the 17 years since the Canon was launched: 6K/60 video in 12-bit Raw, with highly flexible 32-bit float audio is a world away from the wobbly, 8-bit 1080/30 that made large-sensor video available to the masses. And that's before we even consider the autofocus and stabilization capabilities of the ZR. But whereas the Canon cost an amount equivalent to $4K in today's money, the Nikon has an asking price of $2199.

We suspect some photographers will look at the ZR and worry that it's a sign that Nikon is more focused on video now, but we don't share these concerns. The ZR is essentially a spin-off from the Z6III: one of the best enthusiast photography cameras we've ever tested (even if you ignore the Rec button), from a company that refreshed its pro, enthusiast, retro and entry-level photo models before embarking on the ZR.

For its intended audience, the ZR looks very impressive on paper, but it's details such as the handling of lens corrections in R3D, comparing the R3D and N-Raw workflows, and finding out how the ZR copes without active cooling that will dictate whether it lives up to that promise. Either way, it's a powerful statement about Nikon's ambition to make the most of its purchase.

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Australia's embattled koalas have been given some good news for once, with the approval of the world's first chlamydia vaccine for the marsupial. More than a decade in the making, the vaccine will protect koalas from the widespread disease that causes painful urinary tract infections, infertility, blindness and death.

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Apple has announced the iPhone 17 Air, which is lighter and slimmer than the company's standard iPhone 17 and 17 Pro. The company says it's only 5.6mm thick, and it weighs 165g (5.82oz). By comparison, the regular 17 is 7.95mm thick and weighs 177g (6.24oz).

However, that pocketability comes at a cost: while Apple's other phones offer several rear-facing cameras, Air only has one. It uses the same 26mm equiv. F1.6 lens and 48MP Type 1/1.56 (48mm²) sensor as the base iPhone 17, with the same ability to crop in on a center region for a 2x zoom.

Apple pitches its center crop feature as a separate camera, but in reality it's simply taking a crop from the center of the camera's sensor.
Image: Apple

Apple says it's created a "new image pipeline" for the phone, allowing it to digitally add bokeh to portrait photos without being able to derive depth data from the phone's other cameras.

The iPhone 17 Air also includes the large, square selfie camera found on the other iPhone 17 models. The phone can record from both the front and rear cameras at once. Despite the slimmer size, it retains the Camera Control button introduced on the 16s, which acts as a quick shortcut to launch the camera app, and a multi-functional controller once it's open.

The phone has a 6.5" display, which is similar to the one found on the standard iPhone 17 with 3000 nits of peak brightness and a 120hz refresh rate. However, it has a more powerful A19 Pro chip (though it has one fewer GPU core than the one found in the iPhone 17 Pro, and lacks the fancy vapor chamber cooling), and Apple's custom-designed C1X modem. The Air also uses a new "N1" chip from Apple, which the company says enables Wi-Fi 7 and Bluetooth 6.

Its frame is made of titanium, and the front and back are both made of Apple's "Ceramic Shield" glass, though the sheet protecting the display is a newer generation that Apple says is more scratch- and glare-resistant.

The company says the ultra-thin design is possible because it put the phone's core components into the camera bump (or, as it calls it, "plateau").

The phone starts at $999 for a model with 256GB, coming in between the standard iPhone 17 and 17 Pro.

Apple has announced its latest lineup of smartphones, the iPhone 17 and 17 Pro. It features two cameras, including an upgraded ultra-wide model, and retains the Camera Control button from the previous generation.

The company says it designed the iPhone 17 Pro "from scratch." It now features an aluminium frame, rather than a titanium one.

While the main and ultra wide cameras appear to have been untouched, the telephoto camera has gotten an upgrade, making it so all three rear cameras are now 48MP. Previously, the telephoto camera was only 12MP. Perhaps more importantly, the sensor has around 56% more area as well: it's now 23.5mm² compared to the iPhone 16 Pro's 15.3mm² telephoto sensor.

The larger sensor comes at the cost of a little less reach; the iPhone 16 Pro's telephoto camera was a "5x" 120mm equiv., while the 17 Pro's is a 4x 100mm equiv. model. However, the company uses the extra resolution to provide an 8x mode, taken from a center crop of the telephoto camera's sensor, similar to the 2x mode for the main camera.

The new front-facing camera lets you take landscape selfies without having to turn your phone.
Image: Apple

The phone also gets a new F1.9 "Center Stage" selfie camera, which Apple says is twice as large as the previous model. While the company is a bit cagey on details, the iPhone 16 had a Type 1/3.6 sensor, which was around 12mm². Presumably, this means the new camera is around 24mm². It's also now 18MP, up from 12, and is square rather than 4:3, letting users take landscape selfies without having to rotate their phone. This isn't the first time we've seen this approach; GoPro has been doing something similar since the Hero 11 Black.

On the video side, the iPhone 17 Pro can now record in ProRes Raw, which Apple says will provide even more room to edit your footage in post. You can't shoot with the codec in the standard camera app, but it's available in the Final Cut Camera and BlackMagic Camera app. Apple has also worked with BlackMagic to create a dock for the phone, which adds Genlock support.

The phone is powered by the A19 Pro SOC, which Apple says is now attached to a newly-designed vapor chamber, designed to keep the chip performing well without making the phone uncomfortably hot to hold. It moves heat away from the back of the phone and spreads it out across the aluminum frame.

Under that heatsink, the A19 Pro features 16 GPU cores, and the company says it should provide up to 40% better performance than the processor found in the iPhone 16 Pro. It features what Apple says is the "biggest battery in any iPhone," which can power up to 33 hours of video playback on the regular-sized model, and 39 hours on the Pro Max.

The 17 Pro will start at $1099 with 256GB of storage. That's a de facto $100 bump in price compared to the base 16 Pro, which came with 128GB of storage, though it's less than the 256GB iPhone 16 Pro. The Pro Max starts at $1199 for a 256GB model, and is available with up to 2TB of storage.

The iPhone 17's camera setup has been improved, with the ultra-wide camera being upgraded to use a 48MP sensor, rather than a 12MP one. The phone will also now default to 24MP output files, rather than 12MP ones. It also gets the upgraded Center Stage selfie camera found in the Pro.

The phone's main camera appears to be the same 48MP model used by its predecessor, with the ability to crop in to the center region for a 2x zoom.

The iPhone 17 has a 6.3" display (compared to the 16's 6.1" model) with a 3000 nit peak brightness and "ProMotion," meaning it can run at 120Hz, rather than 60. It uses an adaptive refresh rate, so it doesn't spend a ton of power refreshing the screen while nothing's happening. The company has done away with the "Plus" model, which featured a 6.7" display.

The 17 comes with a new processor, the A19, which Apple says is substantially more power efficient than the A18. It starts with 256GB of storage, double what the iPhone 16 started with. The phone starts at $799, the same as its predecessor.

Apple also announced the iPhone 17 Air, a thinner and lighter model than its more typical offerings. You can check out our story about it here.

Hybrid commuter bikes generally aren't known for being all that exciting. That's why some cyclists are taking old speed-oriented lugged-steel road bikes that would otherwise go unused, and converting them into zippy, retro-cool city bikes. Here's how you can do it, too.

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Tamron has announced that it's working on the 25-200mm F2.8-5.6 Di III VXD G2, an "all-in-one" full-frame zoom for travel or those looking for a compact lens with a lot of reach.

The company says the new lens is a follow-up to its 28-200mm F2.8-5.6 Di III RXD, and that the new model "maintains its compact size" while improving image quality. It will also now use linear motors for autofocus instead of a stepping one, and makes big improvements when it comes to macro. The original could only manage 0.32x reproduction at its wide end, while the G2 can do 0.53x.

Tamron says that, like the original lens and its other Di III G2 lenses, the 25-200mm will take 67mm filters. A video posted on the company's YouTube channel also shows that it will have a function button.

The announcement comes on the heels of Sigma releasing its own travel lens, the 20-200mm F3.5-6.3 DG Contemporary. It's exciting to have competition in this space, as it means theres an option with a wider range, and a faster option (though, obviously, there will be some who wish they could have both in one.).

The company says the lens will be available in "autumn" of this year, though there's no word on pricing yet. The press release currently only mentions an E-mount version.

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Canon has announced the EOS C50, a new entry in its cinema camera lineup, which features a completely new full-frame sensor capable of recording 7K 60p. The company says it's the smallest and lightest cinema camera in its lineup.

Despite the size, it packs many of the features people would expect from a cinema camera, such as internal Raw recording, a full-size HDMI port and a fan for active cooling. However, it also gives up an EVF and a stabilized sensor, and doesn't have features found on the larger cinema cameras, such as internal ND filters or support for large, video-style batteries.

• 32MP full-frame CMOS sensor
• 7K recording up to 60p (Canon Cinema Raw Lite)
• Oversampled 4K <60p
• 4K 120p
• 3:2 Open Gate recording up to 30p
• 'Dual Pixel CMOS AF II' with human and animal recognition
• Dual gain steps
• CLog 2/ CLog 3
• Included top-handle with 2 XLR inputs
• 3" display

Given its capabilities, the EOS C50 seems to be aimed at small-to-mid-size professional production houses and studios, similar to the Canon EOS C80, rather than at consumers like the vlogging-friendly EOS R50 V.

It will cost $3899 and will start shipping in November.

Canon says the 32MP full-frame sensor in the EOS C50 is a brand new model that it hasn't used in previous cameras. The company didn't explicitly say what technology the sensor used, but given the camera's price point, it's likely not a Stacked model, though the camera reads out fast enough to deliver full-width 7K at up to 60p. We'll have to wait until review units make their way to press to see what kind of rolling shutter rates the camera provides.

The sensor is a dual conversion gain design, and uses ISO 800 as its low gain step and ISO 6400 as its high gain step when shooting in Log.

Every numbered button on the EOS C50 can be reassigned with one of over 150 functions.
Image: Canon

As you'd expect from a modern cinema camera, the EOS C50 supports a wide array of codecs and resolutions, including three quality levels of Canon's Cinema Raw Light. Any of them can be recorded to a CFexpress Type B card. In contrast, the SD card slot is limited to 4K and below, likely making it most useful for recording proxies or other variations (interlaced versions of progressive footage, Long-GOP versions of intra footage, etc).

The EOS C50 supports oversampling its 4K modes up to 60p, and is also Canon's first camera to support 3:2 'open gate' recording, which uses the sensor's full height. The format has become popular on Panasonic's video-focused cameras, as it lets you shoot with anamorphic lenses and gives you more flexibility to re-frame a shot in post, or to crop for both horizontal and vertical delivery.

If you're shooting in DCI or UHD 4K, the camera also lets you simultaneously record a full HD vertical or square crop onto the SD card for quick turnaround shoots. The camera even lets you record the main video in Log, while applying a Rec709 LUT to the cropped footage.

The EOS C50 comes with a detachable top handle that includes two XLR inputs, a zoom rocker, cold accessory shoe and a record button. In addition to the several 1/4-20" sockets built-in to its body, it also has four screws around its RF lens mount for installing heftier adapters, such as the one that lets the camera use PL-mount lenses.

The camera also has a new 'LCD Luminance Boost' mode for its 3" rear panel, designed to improve its visibility outdoors and in bright light. Canon hasn't provided an exact brightness rating yet, and the company says that the mode may make your preview less accurate, so you'll want to rely on exposure assistance tools like waveforms and false color overlays when using it.

Canon has added a few features that will make run-and-gun shooting with the camera a bit easier. There's now a flexible zone mode for the camera's autofocus, a digital zoom feature that crops in on footage from a prime lens for a bit of extra reach, and an auto shutter mode, which lets you use it in a full-auto exposure setup when combined with auto-iris and auto-ISO.

As with many of Canon's recent video-focused cameras, the EOS C50 can shoot in HLG or PQ video modes for HDR. It can also be used as a USB webcam without the need for extra software or drivers, thanks to UVC/UAC support.

The camera has several ports, including USB-C, full-size HDMI, 3.5mm microphone in and 3.5mm headphone out, an E3 remote control terminal and a DIN timecode jack. Canon says the latter will be easier to use than the one on the EOS R5 C, as it's less recessed. You can connect the camera to Frame.io's Camera To Cloud service using its built-in Wi-Fi or a USB-C to Ethernet adapter.

The EOS C50 uses the same 16Wh LP-E6P battery as the EOS R5 II, which it claims will provide up to 90 minutes of continuous Cinema Raw Light recording in the camera's open gate mode. Compressed formats, like XF-HEVC and XF-AVC, will run through it a bit faster.

Canon says the camera should provide better battery life than the EOS R5 C, though if you need more recording time, it's compatible with the BG-R20 battery grip used for the EOS R5, R5 II, R6 and R6 II. The company also says that the camera will work with older LP-E6NH batteries, but that you can expect them to last up to 30 minutes less.

Despite its video focus, the EOS C50 has a fairly capable stills mode as well. It can shoot Raw images at up to 40fps, has a pre-burst capture mode and even supports registered person priority for autofocus. However, unlike cameras such as the Sony FX2 or Canon EOS R5 C, it doesn't have a mechanical shutter, so there's essentially no option to sync with flash, and its rolling shutter performance may be a concern for shooting fast-moving subjects.

The EOS C50 is an interesting release from Canon. With the EOS R5 C, the company essentially took its existing hybrid mirrorless camera, added more cooling and cinema-style menus, removed the IBIS and called it a day. Theoretically, it could've done the same with the EOS R5 II, and wound up with a very capable camera, albeit one that would likely be quite costly thanks to the Stacked sensor.

But that's not the camera we see today. Instead, Canon has built a camera from the ground up, even going through the trouble of developing a brand new sensor for it. The end result, though, is a camera that's very similar in size to the EOS R5 C if you subtract the EVF hump. It seems like Canon is serious about competing in the mid-range production space against the likes of BlackMagic and Sony, and it'll be interesting to see how this camera performs.

Press release:

Firmware updates for select Canon Cinema EOS cameras and new PowerShot ELPH 360 HS A camera also available

MELVILLE, NY, September 9, 2025 – Canon U.S.A., Inc., a leader in digital imaging solutions, is excited to introduce the new EOS C50 cinema camera, the newest addition to Canon’s cinema EOS system. The EOS C50 is a compact, full-frame cinema camera featuring a brand new 7K full-frame CMOS sensor, 7K 60P internal RAW recording and 32 megapixel still photo capture, making it a true hybrid camera. Weighing approximately one and a half pounds, the EOS C50 is Canon’s smallest and lightest cinema camera ever, making it ideal for handheld and verité shooting.

The lightweight design and hyper-mobile form factor the EOS C50 camera meets growing demands from shooters who are increasingly looking for compact, ergonomic cinema cameras for a variety of settings and shooting styles. Excellent for large and small scale productions, documentary shooting in the field, social media video creation, sports, and more, the EOS C50 camera features a detachable top handle which adds two full-size XLR audio inputs, a start-stop button, and a zoom rocker for unbeatable agility. It also features an RF-mount, lending it native compatibility with a wide variety of Canon lenses, such as the new RF85mm F1.4 L VCM Hybrid Lens.

EOS C50 Camera Recording Options

At the heart of the EOS C50 camera is the 7K full-frame CMOS sensor, which is capable of a Dual Base ISO of 800 and 6400 in Canon Log 2, and 12-bit Cinema RAW Light recording at up to 7K 60P. This powerful sensor is coupled with a DIGIC DV7 processor. The EOS C50 is the first camera in the Cinema EOS lineup to feature the full frame 3:2 open gate recording. In addition to Cinema RAW Light and the standard XF-AVC, the EOS C50 camera also features XF- AVC S and XF-HEVC S recording codecs, proving an easy-to-manage naming system and folder structure, all while preserving metadata and recording in the familiar MP4 format.

Social media shooters will enjoy that the EOS C50 camera is capable of simultaneous crop recording when shooting in 4K DCI or UHD, allowing you to record at a chosen aspect ratio while also recording a cropped portion of the frame in 2K. When shooting in simultaneous crop mode, the three format options include: 9:17, 9:16, or 1:1.

For those looking for camera connectivity, the EOS C50 camera supports XC protocol which allows for remote control over IP via Wi-Fi® or a compatible third-party USB-C ethernet adapter. The EOS C50 camera is also compatible with the Multi Camera Control App and features native integration of frame.io camera to cloud.

New RF-Mount RF85mm F1.4 L VCM Hybrid Lens

The new RF-Mount RF85mm F1.4 L VCM Hybrid lens is the latest addition to Canon’s line of VCM lenses, designed for shooters who increasingly are seeking powerful options whether shooting stills or video content. The RF85mm F1.4 L VCM has a focal length of 85mm, making it perfect for portrait-style shooting. The lens provides beautiful background blurring, as well as a F1.4 Maximum aperture, and well-controlled focus breathing.

Firmware Updates for EOS C400, C80, C70, and R5C Cameras

A new firmware update for select Canon Cinema EOS cameras bring in a few of these bleeding-edge features, available later this year. New firmware updates will enable full frame 3:2 open gate recording (EOS C400), view assist in media mode, quality improvement of focus peaking, improved assign buttons, improved Joy-Stick operability (EOS C80 and EOS C400), and more.

New PowerShot ELPH 360 HS A

Originally released in 2016, the PowerShot ELPH 360 HS still remains a popular compact camera. Appealing to fans of pocketable point and shoot style cameras, the newly updated PowerShot ELPH 360 HS A camera’s memory card slot will be changed from SD to microSD to help meet emerging needs in the compact camera market. The PowerShot ELPH 360 HS A camera will be available in two colors, black and silver.

Pricing and Availability

The Canon EOS C50 camera is currently scheduled to ship towards the end of Q4 of 2025 for an estimated retail price of $3,899.00*. The firmware updates for EOS C400, C80, C70, and the R5C cameras are currently scheduled to be available in Q4 of 2025. The RF85mm F1.4 L VCM lens is currently scheduled to be available in September 2025 for an estimated retail price of $1,649.00*. The new PowerShot ELPH 360 HS A camera is currently scheduled to be available in October 2025 for an estimated retail price of $379.99*. For more information, please visit www.usa.canon.com.

* Specifications, availability and prices are subject to change without notice.

Canon 85mm F1.4 L VCM

Image: Canon

Canon has announced the RF 85mm F1.4 L VCM, a prime lens offering a classic portrait focal length and fast maximum aperture.

The lens sits between the more expensive 85mm F1.2 lenses and the sharp but slow-to-focus 85mm F2.0 IS STM Macro. The new lens slots into the company's expanding range of F1.4 VCM primes, and is a very close match in terms of size and weight.

The design utilizes digital corrections but these can be disengaged, if you prefer, as they are not an essential part of the design of a moderate tele lens. The lens is built in the same 76.5 x 99.6mm body as the 20, 24, 35 and 50mm F1.4 L VCM models. It also uses the same 67mm filters.

Its 14 element / 10 group design uses one ultra-low dispersion (UD) element and one molded glass aspherical element. Two of its rear elements have Canon's 'Air Sphere' coating, to reduce flare and ghosting. Collectively these bring the weight of the lens to 636g, making it the heaviest lens in the set. Like its siblings, it features a aperture ring, along with dust and moisture resistant design and fluorine coatings to protect the front element from dirt and water.

The lens has a close-focus distance of 0.75m (29"), giving 0.12x maximum magnification.

The unified size and option to de-click the aperture ring (at cost, by a Canon service center) are designed to make it well suited to video, as well as stills. The lens also has relatively little focus breathing, which can be essentially eliminated on bodies that support the breathing correction function.

Buy now:

Unlike the 24, 35 and 50mm lenses, the 85mm doesn't have a floating focus element so, like the 20mm, uses only a voice coil autofocus motor, rather than also utilizing a Nano USM motor.

The Canon RF 85mm F1.4 L VCM will be available from October at a recommended price of $1649.

Press release:

Firmware updates for select Canon Cinema EOS cameras and new PowerShot ELPH 360 HS A camera also available

MELVILLE, NY, September 9, 2025 – Canon U.S.A., Inc., a leader in digital imaging solutions, is excited to introduce the new EOS C50 cinema camera, the newest addition to Canon’s cinema EOS system. The EOS C50 is a compact, full-frame cinema camera featuring a brand new 7K full-frame CMOS sensor, 7K 60P internal RAW recording and 32 megapixel still photo capture, making it a true hybrid camera. Weighing approximately one and a half pounds, the EOS C50 is Canon’s smallest and lightest cinema camera ever, making it ideal for handheld and verité shooting.

The lightweight design and hyper-mobile form factor the EOS C50 camera meets growing demands from shooters who are increasingly looking for compact, ergonomic cinema cameras for a variety of settings and shooting styles. Excellent for large and small scale productions, documentary shooting in the field, social media video creation, sports, and more, the EOS C50 camera features a detachable top handle which adds two full-size XLR audio inputs, a start-stop button, and a zoom rocker for unbeatable agility. It also features an RF-mount, lending it native compatibility with a wide variety of Canon lenses, such as the new RF85mm F1.4 L VCM Hybrid Lens.

EOS C50 Camera Recording Options

At the heart of the EOS C50 camera is the 7K full-frame CMOS sensor, which is capable of a Dual Base ISO of 800 and 6400 in Canon Log 2, and 12-bit Cinema RAW Light recording at up to 7K 60P. This powerful sensor is coupled with a DIGIC DV7 processor. The EOS C50 is the first camera in the Cinema EOS lineup to feature the full frame 3:2 open gate recording. In addition to Cinema RAW Light and the standard XF-AVC, the EOS C50 camera also features XF- AVC S and XF-HEVC S recording codecs, proving an easy-to-manage naming system and folder structure, all while preserving metadata and recording in the familiar MP4 format.

Social media shooters will enjoy that the EOS C50 camera is capable of simultaneous crop recording when shooting in 4K DCI or UHD, allowing you to record at a chosen aspect ratio while also recording a cropped portion of the frame in 2K. When shooting in simultaneous crop mode, the three format options include: 9:17, 9:16, or 1:1.

For those looking for camera connectivity, the EOS C50 camera supports XC protocol which allows for remote control over IP via Wi-Fi® or a compatible third-party USB-C ethernet adapter. The EOS C50 camera is also compatible with the Multi Camera Control App and features native integration of frame.io camera to cloud.

New RF-Mount RF85mm F1.4 L VCM Hybrid Lens

The new RF-Mount RF85mm F1.4 L VCM Hybrid lens is the latest addition to Canon’s line of VCM lenses, designed for shooters who increasingly are seeking powerful options whether shooting stills or video content. The RF85mm F1.4 L VCM has a focal length of 85mm, making it perfect for portrait-style shooting. The lens provides beautiful background blurring, as well as a F1.4 Maximum aperture, and well-controlled focus breathing.

Firmware Updates for EOS C400, C80, C70, and R5C Cameras

A new firmware update for select Canon Cinema EOS cameras bring in a few of these bleeding-edge features, available later this year. New firmware updates will enable full frame 3:2 open gate recording (EOS C400), view assist in media mode, quality improvement of focus peaking, improved assign buttons, improved Joy-Stick operability (EOS C80 and EOS C400), and more.

New PowerShot ELPH 360 HS A

Originally released in 2016, the PowerShot ELPH 360 HS still remains a popular compact camera. Appealing to fans of pocketable point and shoot style cameras, the newly updated PowerShot ELPH 360 HS A camera’s memory card slot will be changed from SD to microSD to help meet emerging needs in the compact camera market. The PowerShot ELPH 360 HS A camera will be available in two colors, black and silver.

Pricing and Availability

The Canon EOS C50 camera is currently scheduled to ship towards the end of Q4 of 2025 for an estimated retail price of $3,899.00*. The firmware updates for EOS C400, C80, C70, and the R5C cameras are currently scheduled to be available in Q4 of 2025. The RF85mm F1.4 L VCM lens is currently scheduled to be available in September 2025 for an estimated retail price of $1,649.00*. The new PowerShot ELPH 360 HS A camera is currently scheduled to be available in October 2025 for an estimated retail price of $379.99*. For more information, please visit www.usa.canon.com.

* Specifications, availability and prices are subject to change without notice.

Buy now:

Canon has announced the PowerShot Elph 360 HS A (IXUS 285 HS A outside the US) a minor revision to one of its compact cameras that loses a few features compared to its predecessor. At the same time, the price has crept up slightly.

From an imaging standpoint, the PowerShot 360 HS A is the same as the PowerShot 360 HS that Canon released in 2016. It has a 20.2MP Type 1/2.3 (6.17 x 4.55 mm) BSI CMOS sensor, paired with a 4.5-54mm (25–300 mm equiv) F3.6-7 lens, which provides a 10x optical zoom. It still uses the Digic 4+ processor and has a mini USB port just for data transfer; you'll have to charge the battery by taking it out of the camera and plugging it into a charging brick.

There is one physical change, however: instead of a full-size SD card slot, it now takes microSD cards instead. There are some software differences too. Canon says you'll no longer be able to download images from the camera to a computer over Wi-Fi, nor will you be able to wirelessly send images from the camera to a PictBridge printer, though it can still connect to the company's smartphone app. The company also won't be producing a purple version of the camera this time around; the camera will only come in black or silver.

The PowerShot 360 HS A will retail for $379. That represents a $170 increase from the original's MSRP when it launched in 2016, though only a $20 premium over what the camera has been selling for recently. It will be available at the end of October.

Press release:

Firmware updates for select Canon Cinema EOS cameras and new PowerShot ELPH 360 HS A camera also available

MELVILLE, NY, September 9, 2025 – Canon U.S.A., Inc., a leader in digital imaging solutions, is excited to introduce the new EOS C50 cinema camera, the newest addition to Canon’s cinema EOS system. The EOS C50 is a compact, full-frame cinema camera featuring a brand new 7K full-frame CMOS sensor, 7K 60P internal RAW recording and 32 megapixel still photo capture, making it a true hybrid camera. Weighing approximately one and a half pounds, the EOS C50 is Canon’s smallest and lightest cinema camera ever, making it ideal for handheld and verité shooting.

The lightweight design and hyper-mobile form factor the EOS C50 camera meets growing demands from shooters who are increasingly looking for compact, ergonomic cinema cameras for a variety of settings and shooting styles. Excellent for large and small scale productions, documentary shooting in the field, social media video creation, sports, and more, the EOS C50 camera features a detachable top handle which adds two full-size XLR audio inputs, a start-stop button, and a zoom rocker for unbeatable agility. It also features an RF-mount, lending it native compatibility with a wide variety of Canon lenses, such as the new RF85mm F1.4 L VCM Hybrid Lens.

EOS C50 Camera Recording Options

At the heart of the EOS C50 camera is the 7K full-frame CMOS sensor, which is capable of a Dual Base ISO of 800 and 6400 in Canon Log 2, and 12-bit Cinema RAW Light recording at up to 7K 60P. This powerful sensor is coupled with a DIGIC DV7 processor. The EOS C50 is the first camera in the Cinema EOS lineup to feature the full frame 3:2 open gate recording. In addition to Cinema RAW Light and the standard XF-AVC, the EOS C50 camera also features XF- AVC S and XF-HEVC S recording codecs, proving an easy-to-manage naming system and folder structure, all while preserving metadata and recording in the familiar MP4 format.

Social media shooters will enjoy that the EOS C50 camera is capable of simultaneous crop recording when shooting in 4K DCI or UHD, allowing you to record at a chosen aspect ratio while also recording a cropped portion of the frame in 2K. When shooting in simultaneous crop mode, the three format options include: 9:17, 9:16, or 1:1.

For those looking for camera connectivity, the EOS C50 camera supports XC protocol which allows for remote control over IP via Wi-Fi® or a compatible third-party USB-C ethernet adapter. The EOS C50 camera is also compatible with the Multi Camera Control App and features native integration of frame.io camera to cloud.

New RF-Mount RF85mm F1.4 L VCM Hybrid Lens

The new RF-Mount RF85mm F1.4 L VCM Hybrid lens is the latest addition to Canon’s line of VCM lenses, designed for shooters who increasingly are seeking powerful options whether shooting stills or video content. The RF85mm F1.4 L VCM has a focal length of 85mm, making it perfect for portrait-style shooting. The lens provides beautiful background blurring, as well as a F1.4 Maximum aperture, and well-controlled focus breathing.

Firmware Updates for EOS C400, C80, C70, and R5C Cameras

A new firmware update for select Canon Cinema EOS cameras bring in a few of these bleeding-edge features, available later this year. New firmware updates will enable full frame 3:2 open gate recording (EOS C400), view assist in media mode, quality improvement of focus peaking, improved assign buttons, improved Joy-Stick operability (EOS C80 and EOS C400), and more.

New PowerShot ELPH 360 HS A

Originally released in 2016, the PowerShot ELPH 360 HS still remains a popular compact camera. Appealing to fans of pocketable point and shoot style cameras, the newly updated PowerShot ELPH 360 HS A camera’s memory card slot will be changed from SD to microSD to help meet emerging needs in the compact camera market. The PowerShot ELPH 360 HS A camera will be available in two colors, black and silver.

Pricing and Availability

The Canon EOS C50 camera is currently scheduled to ship towards the end of Q4 of 2025 for an estimated retail price of $3,899.00*. The firmware updates for EOS C400, C80, C70, and the R5C cameras are currently scheduled to be available in Q4 of 2025. The RF85mm F1.4 L VCM lens is currently scheduled to be available in September 2025 for an estimated retail price of $1,649.00*. The new PowerShot ELPH 360 HS A camera is currently scheduled to be available in October 2025 for an estimated retail price of $379.99*. For more information, please visit www.usa.canon.com.

* Specifications, availability and prices are subject to change without notice.

• JPEG (Exif v2.3)

• Contrast Detect (sensor)
• Multi-area
• Center
• Selective single-point
• Single
• Continuous
• Face Detection
• Live View

• Program
• Hybrid Auto
• Auto
• Creative Shot

• Portrait
• Smile
• Wink Self-Timer
• Face Self-Timer
• High-Speed Burst
• Handheld Night Scene
• Low Light
• Fireworks
• Long Shutter

• Single
• Continuous
• Self-timer (2 or 10 secs, custom)

• Multi
• Center-weighted
• Spot

For those looking to dramatically downsize on both space and budget, Dragon Tiny Homes' new Sora may fit the bill. The tiny house has a length of just 16 ft (4.8 m), while squeezing in sleeping space for two, a home office, and even room for the occasional guest.

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Category: Tiny Houses, Outdoors

Tags: Building and Construction, Tiny Footprint, Micro-House, House, Home

Sigma has announced the 20-200mm F3.5-6.3 DG Contemporary, a full-frame lens that packs a lot of range into a small space. Its size and weight could make it an interesting pick for those looking for a lens to document their travels.

The lens is made of 18 elements in 14 groups, with one FLD element, three SLD elements and four aspherical elements. It can accept 72mm filters.

At its shortest, the lens is 117.5mm (4.6"), though it extends to around 190.5mm (7.5") at its longest. Zooming in will also reduce your maximum aperture relatively quickly; it can only achieve F3.5 at its widest setting before dropping down to F4 until 28mm. At 35mm it's F4.5, which goes to F5.6 at 50mm before settling at F6.3 at 85mm. It weighs 540g (19oz).

It has an autofocus/manual focus switch and a zoom lock to keep it from extending while you're carrying it. The construction is splash and dust resistant.

The Sigma 20-200mm F3.5-6.3 DG Contemporary will cost $999, and is available for Sony E mount and L mount.

Press release:

Ronkonkoma, NY, September 9, 2025 – Sigma Corporation of America, the US subsidiary of Sigma Corporation (CEO: Kazuto Yamaki. Headquarters: Asao-ku, Kawasaki-shi, Kanagawa, Japan), is pleased to introduce the Sigma 20-200mm F3.5-6.3 DG | Contemporary lens for full-frame mirrorless cameras, available in late September 2025. It is the world's first 10x zoom lens to begin with an ultra-wide 20mm focal length designed for full-frame mirrorless.

The Sigma 20-200mm F3.5-6.3 DG | Contemporary is a unique all-in-one zoom lens covering ultra-wide to telephoto in a single compact lens. Given its compact size, it’s rare to have a focal range that allows the photographer to shoot quickly and easily between expansive landscapes and establishing scenes, to close-up details or action shots. This lens’s 20mm starting range is much wider than the average high-power zoom lens, and is a feat of engineering weighing in at only 550 grams* in a 4.5 inch body. Ideal for travel photography and everyday documentation of life’s moments, this lens is the perfect all-around lens for any photographer.

A maximum magnification ratio of 1:2 is achieved at a focal range of 28mm to 85mm. At 28mm, one can capture a broad background to emphasize depth, while at 85mm the background can be blurred extensively for a clean look. Even at the telephoto end of 200mm, a magnification ratio of 1:3.3 still enables close-up shooting.

Swift, accurate autofocus is driven by Sigma’s HLA (High-response Linear Actuator) motor, allowing for fast subject acquisition and tracking.

The optical design, which properly positions four aspherical lenses, one FLD glass element, and three SLD glass elements, combined with an internal mechanism that precisely maintains each zoom group, enables high performance across the entire zoom range despite the high zoom ratio. Aberrations are thoroughly corrected, and flare and ghosting are kept to a minimum.

The Sigma 20-200mm F3.5-6.3 DG | Contemporary lens will be available in late September at authorized Sigma dealers in the US for Sony E-mount and L-Mount for a retail price of $999 USD.

* Measurements are for L-Mount.

An all-rounder that empowers limitless creativity. The world’s first* 10x zoom starting at an ultra-wide 20mm.

The Sigma 20-200mm F3.5-6.3 DG | Contemporary is the world’s first high-power zoom lens for full-frame mirrorless cameras that achieves both 20mm at the wide end and a 10x zoom ratio. This versatile zoom lens covers everything from ultra-wide 20mm to telephoto 200mm, allowing photographers to capture subjects ranging from sweeping landscapes to fast-paced sports without being constrained by distance. Its flexibility makes it ideal for a wide variety of scenes, including close-ups with a maximum magnification ratio of 1:2. With its broad expressive capabilities, the lens truly shines in travel photography and everyday snapshots. The lens delivers a consistently comfortable shooting experience, with its thoroughly compact and lightweight design, as well as fast, accurate autofocus powered by a linear motor HLA (High-response Linear Actuator). The Sigma 20-200mm F3.5-6.3 DG | Contemporary is the ultimate all-in-one zoom lens, offering all photographers unprecedented freedom and creativity.

* As of September 2025, by Sigma.

KEY FEATURES

The world’s first 20-200mm for unleashing creative freedom

Zoom versatility meets expressive ultra-wide 20mm – in one lens

The lens covers the ultra-wide angle of 20mm, which has been difficult to achieve with conventional high-power zoom lenses. Handling everything from majestic landscapes to sports, the lens perfectly captures both scenes unique to ultra-wide angles and applications that take advantage of its telephoto range. With a comprehensive zoom range of 20mm to 200mm, this ultimate all-in-one zoom lens delivers stunning details across a wide variety of shooting situations.

Maximum magnification ratio of 1:2 at the focal lengths of 28-85mm

The lens achieves a maximum magnification ratio of 1:2 at the focal lengths from 28mm to 85mm, enabling photographers to enjoy a broad range of half-macro photography with different angles of view, from wide macro shots that boldly incorporate the background by moving closer to the subject, to medium telephoto macro shots that highlight the subject at a natural distance.

Compact and lightweight design that delivers exceptional mobility

Thoroughly compact and lightweight design

This lens is the world's first to achieve a vast zoom range from ultra-wide 20mm to telephoto 200mm, while weighing only 550g and measuring just 115.5mm in length*. The zoom ring diameter is a very slim 70.4mm, making it highly portable. Without worrying about size or weight, the lens provides extensive creative flexibility in any situation, from everyday snapshots to travel photography.

* The figures are for L-mount

Optical and mechanical design realizing both compact size and high performance

Incorporating high-refractive-index glass materials reduces lens movement during zooming. This enables a simple internal structure and slim lens body. The optical design, which properly positions four double-sided aspherical lenses, one FLD glass, and three SLD glass elements, combined with an internal mechanism that maintains high precision in each zoom group, also delivers high performance across the entire zoom range.

High-speed autofocus and versatile features for effortless shooting

HLA-driven high-speed AF

To help photographers capture even the most fleeting moments, the lens uses an HLA (High-response Linear Actuator) to achieve high-speed autofocus functionality with excellent drive accuracy.

Dust- and splash-resistant structure* and water- and oil-repellent coating

In addition to a dust- and splash-resistant structure, the front element of the lens features a water- and oil-repellent coating, allowing photographers to shoot without concerns even in harsh outdoor environments.

* The structure is designed to be dust- and splash- resistant, but not waterproof. Be careful not to bring the lens in contact with a large amount of water. Water inside the lens may cause major damage and even render the lens unrepairable.

Equipped with a zoom lock switch at the wide end

features a zoom lock switch that can be fixed at the wide end to prevent the lens from extending unintentionally under its own weight. The lock can be released not only by the switch but also via zoom operation, allowing for flexible handling of even impromptu shooting.

Designed to minimize flare and ghosting

Flare and ghosting, which reduce image quality, are addressed under all conditions of incident light, based on the most advanced simulation technology. High backlight resistance enables clear and sharp images under any lighting conditions.

LIST OF FEATURES

• HLA (High-response Linear Actuator)
• Water- and oil-repellent coating
• Focus mode switch
• Zoom lock switch
• Dust- and splash- resistant structure
• Mount Conversion Service available
• Support for switching between linear and non-linear focus ring settings (for L-Mount only*)
• Compatible with Sigma USB Dock UD-11 (sold separately / for L-Mount only)
• Every single lens undergoes Sigma’s proprietary MTF measuring system

* Only on supported cameras.

Hot on the heels of the stabilized 200mm F2, Sigma is releasing another first for mirrorless systems: the 135mm F1.4 DG Art. While there have been a few similarly fast manual-focus only 135mm lenses, and several fully-featured 135mm F1.8s, this is the first to feature both an F1.4 aperture and autofocus capabilities.

The 135mm F1.4 DG Art has 17 elements in 13 groups, with four FLD elements and two aspheric lenses. It has a 13-blade aperture and a minimum focusing distance of 110cm (43.4").

The lens weighs 1420g (50.1oz) and accepts 105mm filters. It's also relatively short, coming in at 137.5mm (5.4") long, which is around the same size as Nikon's 135mm F1.8 'Plena' (though that lens is significantly lighter and narrower). It has a removable Arca-Swiss-style tripod collar with markings at 90° intervals.

As with many of Sigma's primes, the 135mm F1.4 has an aperture ring, which can be set to clicked or declicked with a switch. There are also switches for focus mode and aperture lock, as well as an autofocus lock button.

The 135mm F1.4 DG Art will be available for Sony E and L mount, and will cost $1899.

Press release:

Ronkonkoma, NY, September 9, 2025 – Sigma Corporation of America, the US subsidiary of Sigma Corporation (CEO: Kazuto Yamaki. Headquarters: Asao-ku, Kawasaki-shi, Kanagawa, Japan), is pleased to introduce the Sigma 135mm F1.4 DG | Art lens for full-frame mirrorless cameras, available in late September 2025. It is the world's first autofocus 135mm F1.4 prime lens designed for full-frame mirrorless.

The Sigma 135mm F1.4 DG | Art is a large-aperture, medium telephoto lens with uncompromising resolution for a crystal-clear image and exceptional bokeh for a smooth, blurred background. As the longest focal length prime lens in the Art F1.4 series for full-frame mirrorless cameras, this lens is ideal for professional photographers specializing in wedding and fashion portraiture, and for photographers aiming to produce portraits of the highest overall quality. The fast F1.4 aperture is designed to create exceptionally smooth, beautiful bokeh, while the 135mm focal length will provide an immersive sense of depth. This compression effect, characteristic of telephoto lenses, enhances the composition by helping the subject stand out against the background, making this lens ideal for portrait photographers aiming to take their work to the next level.

Swift, accurate autofocus is driven by Sigma’s HLA (High-response Linear Actuator) motor, allowing for fast subject acquisition and tracking. Several features support a variety of shooting styles, such as an intuitive de-clickable aperture ring, and customizable AFL buttons located on the side and top of the lens.

Outstanding edge-to-edge resolution is achieved, even at maximum aperture, by adopting an optical design of 17 elements in 13 groups, including 4 FLD and 2 aspherical glass elements. Aberrations are thoroughly corrected, and flare and ghosting are kept to a minimum.

Build quality is exceptional, as is characteristic of the Sigma Art line. The lens features a gasketed mounting surface, water and oil-repellent coating on the front element, and an overall dust and splash-resistant structure that helps maintain lens performance in challenging environments.

The Sigma 135mm F1.4 DG | Art lens will be available in late September at authorized Sigma dealers in the US for Sony E-mount and L-Mount for a retail price of $1,899 USD.

Revolutionizing portraits with the world’s first* AF 135mm F1.4.

The Sigma 135mm F1.4 DG | Art is the world’s first 135mm autofocus lens to achieve a maximum aperture of F1.4, delivering exceptional expressive capabilities for portrait photography. Its unrivaled large bokeh and stunning resolution that renders every detail create an extraordinary sense of depth and dimensionality. The natural perspective and moderate shooting distance unique to 135mm, combined with the rich bokeh of the bright F1.4 aperture, make the subject stand out and render on an entirely different level compared to conventional 135mm F1.8 lenses. Built on extensive expertise gained from developing numerous F1.4 prime lenses, this new 135mm lens from Sigma sets a new standard in portrait photography.

* As of September 2025, by Sigma.

KEY FEATURES

Large bokeh for powerful visual expression

Unmatched large bokeh opens up new expressive possibilities

The most notable feature of the Sigma 135mm F1.4 DG | Art is its extremely large bokeh. The effective aperture diameter* of the 135mm F1.4 lens produces exceptional bokeh, which is larger than that of the Sigma 105mm F1.4 DG HSM | Art known as ”Bokeh Master,” and is comparable to that of the Sigma 200mm F2 DG OS | Sports. The natural perspective unique to 135mm, together with its overwhelming bokeh, highlights the subject and creates dimensional portraits achievable only with this lens.

* The effective aperture diameter is calculated by dividing the focal length by the F-number. It refers to the diameter of the light beam that forms an image at the center of the image sensor. A larger effective aperture results in a shallower depth of field and more pronounced bokeh.

Optical design optimized to produce natural bokeh

Thorough correction of chromatic aberration, which is common in telephoto lenses, achieves clear bokeh without color bleeding.The design also minimizes vignetting, rendering natural, near-circular bokeh even at the edges―fully utilizing the wide-open aperture

Sigma’s craftsmanship behind beautiful bokeh

A 13-blade diaphragm maintains a circular bokeh shape, while exceptional precision in aspherical lens processing further enhances its smoothness. This beautiful, natural bokeh is the result of Sigma’s know-how gained through development of F1.4 prime lenses over many years and the advanced manufacturing technology cultivated at its Aizu factory.

Precision optics for exquisite portrait detail

Clear subject detail even at maximum aperture

Four large FLD glass elements are positioned, along with strategically placed high-dispersion glass elements to thoroughly suppress axial chromatic aberration, which tends to be more pronounced in large-aperture telephoto lenses. As a result, the lens delivers crisp subject detail even when shot wide open, making full use of the exceptionally shallow depth of field unique to a 135mm F1.4

Floating focus system for consistent sharpness

A floating focus system moves the two focus lens groups independently, ensuring consistently high resolution across the entire focus range.

Designed to minimize flare and ghosting

Flare and ghosting, which reduce image quality, are addressed under all conditions of incident light, based on the most advanced simulation technology and Sigma’s Super Multi-Layer Coating. High backlight resistance enables clear and sharp images under any lighting conditions.

Fast, accurate autofocus to capture fleeting expressions

Dual HLA for fast, precise autofocus

Each of the two focus groups is driven by its own HLA (High-response Linear Actuator), forming a dual HLA system. By incorporating two distinct types of HLAs, each optimized for the movement range of a focus group, the dual HLA system ensures both the high thrust needed for large-aperture telephoto lenses and fast, precise AF performance. This allows even fleeting expressions and fast-moving subjects to be captured with exceptional reliability.

A wealth of functions for professional use and excellent build quality

Various shooting assist functions

The lens is equipped with an AFL button in two locations, which can be assigned to a range of functions via the menu on selected cameras. In addition to the aperture ring, the lens is equipped with an aperture ring lock switch and a click switch to turn the click on and off.

Dust- and splash-resistant structure* and water- and oil-repellent coating

In addition to a dust- and splash-resistant structure, the front element of the lens features a water- and oil-repellent coating, allowing photographers to shoot without concerns even in harsh outdoor environments.

* The structure is designed to be dust- and splash- resistant, but not waterproof. Be careful not to bring the lens in contact with a large amount of water. Water inside the lens may cause major damage and even render the lens unrepairable.

Excellent build quality of Sigma’s Art line specifications

Metal components such as aluminum and magnesium alloys are combined with engineering plastics like TSC*, strategically placed throughout the construction. This balances the durability required to support the optical system of a large-diameter lens with the lightweight design necessary for comfortable handling. The Art line offers remarkable rigidity, durability, and build quality for long-term reliability as a tool of expression.

* TSC (Thermally Stable Composite) is a type of polycarbonate with a thermal expansion rate similar to that of aluminium. It has a high affinity to metal parts, which contributes to high quality product manufacturing.

Arca-Swiss compatible tripod socket for long studio shoots

The lens comes with a lightweight yet robust tripod socket made of magnesium alloy, compatible with Arca-Swiss clamps. It provides excellent stability during studio sessions and extended shooting, helping photographers stay focused on their creative expression. The tripod socket is also removable and can be replaced with the supplied protective cover.

Supplied hood with a button-type locking mechanism

The supplied hood is equipped with a button-type locking mechanism for secure attachment. It is constructed from CFRP, a polycarbonate material reinforced with carbon fiber, making it both lightweight and durable.

LIST OF FEATURES

• HLA (High-response Linear Actuator)
• Water- and oil-repellent coating
• Aperture ring
• Aperture ring lock switch
• AFL button (2 locations) *1
• Focus mode switch
• Dust- and splash-resistant structure
• Mount Conversion Service available
• Support for switching between linear and non-linear focus ring settings (for L-Mount only*2)
• Compatible with USB Dock UD-11 (sold separately / for L-Mount only)
• Every single lens undergoes Sigma’s proprietary MTF measuring system

1. Assignment of functions is limited to supported cameras and assignable functions vary depending on the camera.

2. Only on supported cameras.

Sigma has announced a second-generation version of its full-frame 35mm F1.2 'Art' lens, after teasing that it was coming earlier this year. The company says the 35mm F1.2 DG II Art, coming for Sony E and L mount, is smaller and lighter than its predecessor, while offering better optical and autofocus performance.

The lens has 17 elements in 13 groups, with four aspheric lenses and one SLD element. The original 35mm F1.2 DG DN Art, meanwhile, had 17 elements in 12 groups, with three SLD and aspherical elements. Sigma says the new optical formula will reduce color fringing and coma. The II's extra group is thanks to a floating focus design, where there are now two focusing groups that can move independently.

Speaking of focus, the II now has dual linear autofocus motors, versus the original's ring-type ultrasonic design. The minimum focusing distance is ever so slightly improved, now at 28cm (11.1") instead of 30cm (11.8"). Additionally, Sigma says it has less focus breathing, making it more useful for video shooters.

The II is also substantially smaller than its predecessor, coming in at 20% shorter and 30% lighter. In fact, it's roughly the same length as Sigma's 35mm F1.4 lens, though it's still around 100g (3.5oz) heavier and has a 5mm (0.2") larger diameter. While older F1.2 took 82mm filters, the new version now uses 72mm ones, which can sometimes be significantly cheaper.

The lens keeps its predecessor's aperture ring, which can be set as clicked or de-clicked, and adds an aperture ring lock switch. It also retains an AF-L button.

The Sigma 35mm F1.2 DG II Art will cost $TK – TK from the $1499 MSRP of its predecessor – and will be available starting TK.

Press release:

Ronkonkoma, NY, September 9, 2025 – Sigma Corporation of America, the US subsidiary of Sigma Corporation (CEO: Kazuto Yamaki. Headquarters: Asao-ku, Kawasaki-shi, Kanagawa, Japan), is pleased to introduce the Sigma 35mm F1.2 DG II | Art lens for full-frame mirrorless cameras, available in late September 2025. It is designed as the successor to the Sigma 35mm F1.2 DG DN | Art released in 2019, and follows in the footsteps of the ultra-fast, high-performance 50mm F1.2 DG DN | Art lens released last year.

The Sigma 35mm F1.2 DG II | Art, evolving from the original 35mm F1.2 and following the need for a more compact lens to pair with mirrorless cameras, now features a much smaller footprint, comparable in size to the 35mm F1.4 DG DN | Art. Autofocusing performance has been upgraded, and overall optical quality has also been improved. With its bright F1.2 aperture, the lens is ideal for nightscape photography in addition to portraiture, landscapes, street photography, and many other genres that embrace the 35mm focal length.

Thorough correction of axial chromatic aberration and sagittal coma flare contributes not only to the sharpness of the image plane, but also to the bokeh effect. The lens delivers beautiful bokeh without color fringing, double-line bokeh, or any other irregularities from its maximum aperture. The 11-blade rounded diaphragm maintains a circular bokeh shape even when the aperture is stopped down.

As a result of the optical and mechanical design incorporating the latest technology, the new 35mm F1.2 DG II | Art is significantly smaller and lighter than the previous model. The filter diameter has been reduced by two sizes from 82mm to 72mm; the overall length of the lens has been shortened by approximately 20%, and the weight has been reduced by approximately 30%.

Additionally, focusing performance surpasses that of the previous model by adopting a floating focus configuration that moves two focus groups independently. Adopting the dual HLA (High-response Linear Actuator) system, this lens has two focus groups that are each driven with individual linear motors. The floating focus system also minimizes focus breathing, making the lens suitable for video recording.

The Sigma 35mm F1.2 DG II | Art lens will be available in late September at authorized Sigma dealers in the US for Sony E-mount and L-Mount for a retail price of $1,549 USD.

Great made better: the exceptional resolving power and beautiful bokeh of Sigma’s world-leading 35mm F1.2 in a smaller, lighter body

In 2019, Sigma released the 35mm F1.2 DG DN | Art, the world's first 35mm mirrorless camera lens with an F1.2 aperture. Six years later, Sigma is proud to introduce its successor, the 35mm F1.2 DG II | Art.

Designed and engineered with Sigma's latest technology, the 35mm F1.2 DG II | Art offers not only improved optical performance, but also greatly enhanced portability thanks to a significant size reduction of approximately 30%. With its improved design, the lens delivers unparalleled rendering power, high-resolution clarity and large, beautiful bokeh in a more portable form. Focus breathing is also effectively minimized, ensuring outstanding results not only in still photography, but also when shooting video.

The Sigma 35mm F1.2 DG II | Art is an exceptional, uncompromising lens that achieves the perfect balance of optical performance, brightness, compact size, light weight and ease of use.

KEY FEATURES

Unrivaled rendering power, beautiful bokeh and crystal clear images even at F1.2

Extreme suppression of chromatic aberration and sagittal coma flare

The Sigma 35mm F1.2 DG II | Art offers even better optical performance than its predecessor, with brilliant clarity throughout the image, even at the fully open F1.2 aperture. The use of SLD glass, highly refractive glass with high anomalous dispersion, and four glass-molded double-sided aspherical elements thoroughly corrects axial chromatic aberration and sagittal coma flare, while significantly reducing the lens size.

Brilliant sharpness and the large, beautiful bokeh of an F1.2 aperture

In designing the 35mm F1.2 DG II | Art, Sigma paid special attention to correcting the various optical aberrations that affect image quality. Thanks to these meticulous efforts, the lens delivers brilliant sharpness of the in-focus plane and beautiful bokeh that suppresses color bleeding and double line bokeh. Photographers will appreciate the rich, expressive rendering qualities and the beautiful interplay between the in-focus and out-of-focus areas, especially when shooting wide open at F1.2.

Designed to minimize focus breathing

Optimization of the focus group arrangement and aspherical shape significantly suppresses focus breathing. As a result, changes in field of view are effectively suppressed when the focusing distance is changed, making the lens an ideal choice for professional video use.

Designed to minimize flare and ghosting

Flare and ghosting, which reduce image quality, are addressed under all conditions of incident light, based on the most advanced simulation technology. High backlight resistance enables clear and sharp images under any lighting conditions.

Significantly reduced size and weight

Better performance, smaller size and lighter weight thanks to the floating focus system

The Sigma 35mm F1.2 DG II | Art achieves even better optical performance than its predecessor while being approximately 30% lighter and 20% shorter. A key factor behind this is the adoption of a floating focus design: by allowing the lens groups to move independently of each other, the weight of each lens group has been significantly reduced while simultaneously enhancing optical performance. Additionally, the improved optical design features four aspherical lens elements, high refractive index glass, and thinner lens elements, further contributing to its exceptional performance.

Fast and quiet autofocusing with dual HLA system

The dual HLA (High-response Linear Actuator) system drives each of the two focus groups by an individual linear motor. In addition, the use of multiple magnets in each motor allows for a compact focus unit design without sacrificing high thrust. Compared to conventional cam-driven systems, the dual HLA system is not only significantly lighter, but also guarantees fast, reliable and quiet autofocusing.

Designed and engineered for professional use

A long-lasting, reliable tool for photographic expression

Manufactured and assembled in Aizu, Japan, using high-precision parts made of aluminum, TSC*1 and other materials, the 35mm F1.2 DG II | Art is a sophisticated and durable photographic tool designed according to Sigma’s Art line specifications.

1. TSC (Thermally Stable Composite) is a type of polycarbonate with a thermal expansion rate similar to that of aluminum. It has a high affinity to metal parts, which contributes to high quality product manufacturing.

A wealth of shooting assist functions

The lens features an AFL button that can be assigned a variety of functions on compatible cameras. In addition, the aperture ring can be locked with the dedicated lock switch and changed from clicked to declicked with the dedicated click switch.

Dust- and splash-resistant structure*2 and water- and oil-repellent coating

In addition to a dust- and splash-resistant structure, the front element of the lens features a water- and oil-repellent coating, allowing photographers to shoot without concerns even in harsh outdoor environments.

2. The structure is designed to be dust- and splash- resistant, but not waterproof. Be careful not to bring the lens in contact with a large amount of water. Water inside the lens may cause major damage and even render the lens unrepairable.

Petal-type hood with locking mechanism

The Sigma 35mm F1.2 DG II | Art comes with a dedicated petal-type hood that shields the front element from stray light to reduce the chance of unwanted flare. The hood attaches securely to the lens with a locking mechanism.

LIST OF FEATURES

• HLA (High-response Linear Actuator)
• HLA (High-response Linear Actuator)
• Water- and oil-repellent coating
• Aperture ring
• Aperture ring click switch
• Aperture ring lock switch
• AFL button (1 location)*1
• Focus Mode switch
• Dust- and splash- resistant structure
• Mount Conversion Service available
• Support for switching between linear and non-linear focus ring settings (for L-Mount only*2)
• Compatible with Sigma USB Dock UD-11 (sold separately / for L-Mount only)
• Every single lens undergoes Sigma’s proprietary MTF measuring system

1. Assignment of functions is limited to supported cameras and assignable functions vary depending on the camera.

2. Only cameras that are compatible with the system are allowed to use the system.